tom moody

tom moody's weblog
(2001 - 2007) (2004 - )

2001-2007 archive

main site


digital media tree (or "home" below)

RSS / validator

BLOG in gallery / AFC / artCal / furtherfield on BLOG

room sized animated GIFs / pics

geeks in the gallery / 2 / 3

fuzzy logic

and/or gallery / pics / 2

rhizome interview / illustrated

ny arts interview / illustrated

visit my cubicle

blogging & the arts panel

my dorkbot talk / notes

infinite fill show




coalition casualties

civilian casualties

iraq today / older

mccain defends bush's iraq strategy

eyebeam reBlog


tyndall report

aron namenwirth

bloggy / artCal

james wagner

what really happened


cory arcangel / at

juan cole

a a attanasio

three rivers online

unknown news



edward b. rackley

travelers diagram at

atomic cinema


cpb::softinfo :: blog


paper rad / info

nastynets now

the memory hole

de palma a la mod

aaron in japan


chris ashley




9/11 timeline

tedg on film

art is for the people


jim woodring

stephen hendee

steve gilliard

mellon writes again


adrien75 / 757


WFMU's Beware of the Blog

travis hallenbeck

paul slocum

guthrie lonergan / at

tom moody

View current page
...more recent posts

In the comments to an earlier post, Aaron Yassin says: "Although I don't mind a few New Dumb Little Paintings here and there (some of them can be pretty cute) I'm not as sympathetic as you or Jerry Saltz are to the genre. I'm actually more mystified by the continued proliferation of the form and view it as one more sign that we are really in the midst of a mannerist period." He asks what I think is important about the genre.

First, don't give too much weight to Saltz's opinion since he has what art historiographer James Elkins calls a "positionless position" on art. The brief for bad painting, however, has remained fairly strong since it was first identified by Marcia Tucker and others in the late 70s. Here's the gist of an argument: Technological developments in "imaging" (first photography, now digital tools) are in the process of making painting as historic as hot lead typesetting, whether we like it or not, and there are only two ways it can go now. It can merge into technological practice and/or it can be the most idiosyncratic, unco-optable form of personal expression. "Mannerist" implies decadence but idiosyncratic personal expression is absolutely vital and essential in a world dominated by mass-(re)produced media. Jim Shaw's "Thrift Store Paintings" show at Metro Pictures was a landmark because it harnessed the power of many individuals' "one good painting" (good meaning punchy or hard-to-forget) and also presaged the role of the artist as curator of such phenomena, an increasingly common practice on the Web. I could go on but that's it in a nutshell. To me, "mannerism" is the postmodern AbEx painting at Von Lintel gallery in Chelsea.

- tom moody 9-25-2004 8:36 pm [link] [15 comments]